BaL 24.04.21 - Stravinsky: Violin concerto in D

[richardfinegold]

Which brings me back to a comment I made on the Pulcinella BaL thread, which was fairly roundly dismissed!

Stern was presumably CBS's recording artist/solo violinist of the day.
This is not to say that he was foisted on Stravinsky, or that Stravinsky was not happy with him.
Nor is it intended as any comment about his performance.
But if Stravinsky had not been recording with CBS, who might his soloist have been?
Who else was around (in the US) at the time, and why didn't they take the piece up and record it?
Maybe they did!
I have the impression too (though I may be mistaken) that, at least for the standard repertoire, it was often the orchestra's concertmaster (aka leader) who was the soloist in concertos, though whether this was for economic reasons or happened predominantly at performances other than main seasonal events (such as summer season ones) I'm not sure.
Perhaps rfg can give us his perspective from Chicago.

Stern apparently was considered by other Violinists active here in the sixties to have a role similar to that of Karajan in Europe in the Seventies when the latter was known as “Herr General Musik Director “ of Europe, with the power to determine who got what post, whose careers were advanced or retarded. Aaron Rosand and Mischa Ellman in particular were known for making this claim. A recording of the Stravinsky Concerto
with the Composer conducting would have been a plum offering and if the stories about Stern’s reach have any merit then he may well have been foisted upon Igor.
It is interesting that the second most recorded Columbia violinist of the era, a bit older than Stern, was Zion Francescatti. Since Zion was European based, he might have been able to move a bit out of Stern’s sphere

[Bryn]

The Stern/Stravinsky recording earned the 1962 "Best Classical Performance – Instrumental Soloist (with orchestra)" Grammy.

[Pulcinella]

Stern apparently was considered by other Violinists active here in the sixties to have a role similar to that of Karajan in Europe in the Seventies when the latter was known as “Herr General Musik Director “ of Europe, with the power to determine who got what post, whose careers were advanced or retarded. Aaron Rosand and Mischa Ellman in particular were known for making this claim. A recording of the Stravinsky Concerto
with the Composer conducting would have been a plum offering and if the stories about Stern’s reach have any merit then he may well have been foisted upon Igor.
It is interesting that the second most recorded Columbia violinist of the era, a bit older than Stern, was Zion Francescatti. Since Zion was European based, he might have been able to move a bit out of Stern’s sphere

Thanks Richard: that's interesting.
I have Zino (nice typo in your post!) Francescatti's recordings of the Walton (with Ormandy; no date given in the liner notes) and Bernstein (Serenade, recorded 22 July 1965), but Stern of course recorded that too, with Bernstein and The Symphony of the Air (19 April 1956).

[Ein Heldenleben]

Stern apparently was considered by other Violinists active here in the sixties to have a role similar to that of Karajan in Europe in the Seventies when the latter was known as “Herr General Musik Director “ of Europe, with the power to determine who got what post, whose careers were advanced or retarded. Aaron Rosand and Mischa Ellman in particular were known for making this claim. A recording of the Stravinsky Concerto
with the Composer conducting would have been a plum offering and if the stories about Stern’s reach have any merit then he may well have been foisted upon Igor.
It is interesting that the second most recorded Columbia violinist of the era, a bit older than Stern, was Zion Francescatti. Since Zion was European based, he might have been able to move a bit out of Stern’s sphere

Interestingly arch - conspiracy theorist Joseph Lebrecht says he comprehensively researched these claims re Stern and could find no evidence for it. He makes the point that Stern , as an ICM artist could have little impact on those represented by CAMI - a larger agency.
With Karajan - yes he could make or break careers no problem ...

[Richard Barrett]

arch - conspiracy theorist Joseph Lebrecht

There are two music-gossip-peddlers called Lebrecht???

[Ein Heldenleben]

There are two music-gossip-peddlers called Lebrecht???

Where did I get Joseph from..? Yes in this case though he’s scotching gossip. But how do you prove things one way or another? I just don’t think violinists wield anything like the power that conductors and agents do. Maybe if they did the world would be a better place ?

PS completely coincidentally Norman has what I believe is called a “takedown “ article on Stravinsky in the latest edition of The Critic

https://thecritic.co.uk/issues/april-2021/myth-of-igor-the-great-composer/

[verismissimo]

Interestingly arch - conspiracy theorist Joseph Lebrecht says he comprehensively researched these claims re Stern and could find no evidence for it. He makes the point that Stern , as an ICM artist could have little impact on those represented by CAMI - a larger agency.
With Karajan - yes he could make or break careers no problem ...

But some weeks later Lebrecht published a piece written for him by Aaron Rosand detailing how Stern hampered him.

[Bryn]

From the lack of any index mentions of Stern, other than to the existence of their recording of the concerto, in the various books on Stravinsky I have to hand, it would seem that they had no further relation. I'm happy to be disabused regarding this, however.

[Ein Heldenleben]

But some weeks later Lebrecht published a piece written for him by Aaron Rosand detailing how Stern hampered him.

The only incident involving Issac Stern preventing other musicians performing that I can give personal testimony to was a curious episode in Broad Street Oxford in 1977 (I think). Some rock musician friends of mine had decided to put on an impromptu “gig’ in the middle of the street. This was just outside the Sheldonian Theatre. About 10 mins in a very polite police officer asked them to stop as the world famous concert violinist Issac Stern was rehearsing for a concert inside . Fair enough ...

[Ein Heldenleben]

But some weeks later Lebrecht published a piece written for him by Aaron Rosand detailing how Stern hampered him.

Read it ..pretty damning isn’t it ?

[Parry1912]

Where did I get Joseph from..? Yes in this case though he’s scotching gossip. But how do you prove things one way or another? I just don’t think violinists wield anything like the power that conductors and agents do. Maybe if they did the world would be a better place ?

PS completely coincidentally Norman has what I believe is called a “takedown “ article on Stravinsky in the latest edition of The Critic

https://thecritic.co.uk/issues/april...reat-composer/

As if Lebrecht wasn’t annoying enough already, I see he’s now gone woke.

[Richard Barrett]

PS completely coincidentally Norman has what I believe is called a “takedown “ article on Stravinsky in the latest edition of The Critic

The usual ill-informed rubbish which I'm ashamed to have wasted my time reading.

[Ein Heldenleben]

The usual ill-informed rubbish which I'm ashamed to have wasted my time reading.

I was going to give you a blood-pressure warning ! Fact is we are not so flush with great composers we can afford to trade Stravinsky off against Prokofiev ..
PS Stravinsky is surely better isn’t he? Just one comparison The Rake’s Progress is a better opera than War and Peace ....even though neither were really opera composers.

[Richard Barrett]

I was going to give you a blood-pressure warning ! Fact is we are not so flush with great composers we can afford to trade Stravinsky off against Prokofiev ..
PS Stravinsky is surely better isn’t he? Just one comparison The Rake’s Progress is a better opera than War and Peace ....even though neither were really opera composers.

I'm quite fond of a lot of Prokofiev but for me his music represents the end of something, whereas Stravinsky was all about opening up new beginnings, I mean to describe his neoclassical music as "pastiche" is the opinion of someone who isn't really listening. And what was that comment about Prokofiev being a messy eater of fish there for?

I don't think by the way that this article shows that NL has gone woke - surely his comments on wokeness are as sarcastic as you'd expect in a magazine that seems to position itself as a Spectator for the under-90s.

[jayne lee wilson]

Contrasts…..

David Nebel/Baltic Sea Symphony/K-Järvi (Sony 24/96, 2020/Qobuz - Nebel's solo debut) is immediately gripping; compelling in its pace, attack, colour and above all vivid characterisations of each musical mood - emphasised by the forward recording. But although the soloist is close, the orchestra is right behind him (and at too high a volume they’re all on top of you!) At an apt level there are dynamic extremes, depth and spaciousness here…so set the volume carefully to achieve aural delights.

A little slower in the outer movements, the initial comparative reserve of Baiba Skride/BBCNOW/T-Fischer (Orfeo lossless, 2012/Qobuz) soon starts to tell in its own way: marvellous refinements of colour and detail in violin and orchestra, exceptional textural clarity through both, a close, intimate solo/orchestra rapport - a unity of vision. (Nebel/Jarvi is more soloist-focussed, though not excessively so, and Jarvi matches the solo expressions well, if less symbiotically). The Orfeo may lack in visceral allegro excitements but the ear is drawn in by its filigree subtleties.

So into Aria1, and Nebel soon seduces you with that overt warmth and charm, the expressive extremes of colour and dynamics… I found myself smiling toward the end, loving the music (which I once overplayed and had thought lost to familiarity) all over again.
Skride’s subtleties come through in her more varied microdynamics, but here, you admire Fischer’s accompaniment even more, tracing his soloist’s manoeuvres exceptionally closely, following the violin lines into and through the orchestra with great skill and intimacy. Cooler than Nebel/Jarvi again, but still very involving.

But in Aria II things really diverge….
Skride/Fischer take this as an expressive heart, noticeably slower than AI, again that uncannily close matching of soloist/orchestra drawing the ear ever deeper. You reach the lovely close, a little reluctant to allow the finale to dive in.
Nebel’s AII is closely paired with AI, over a minute faster than Skride, the contrasts drawn through vivid switches of colour, mood, and dynamic extremes. In direct comparison with Aria II alone, I felt very slightly shortchanged; but in the context of the complete performance it fits perfectly: now, you want the finale to leap out at you!

Nebel/Jarvi’s finale is - of course! - head-over-heels, with cartoonishly vivid, Pulcinella-style wind and brass characters; irresistible.
Skride/Fischer - light, playful, fantastical, but - a shade understated in the last pages; I wanted more abandon here, but, all of a piece with their interpretive view, it could still be a grower… three times through, I still wasn't sure...

***
Two excellent, very different recent readings in fine sound - and a great way to update your responses to the piece if you have only older recordings, however classic they may be.